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An American in Paris Watches ‘Emily in Paris’

Courtesy Netflix

The Netflix show tells us exactly what TV producers think of young women: all mermaid curls, no brains

For what felt like ages I held out against watching Emily in Paris (2020). As an American in Paris I loathe the stereotype of the American in Paris, and only relented when BBC Scotland 广州:增放盘面积与网签面积环比大增 但同比仍降 3月二手住宅成交回暖明显. Ah, I thought. A chance to tell the world – or, well, Scotland – how much I loathe this stereotype.

I’m only mildly embarrassed to admit I watched the whole show in two nights. I may even have giggled at a few of the jokes, and sighed at some views of Paris, even though Paris is right outside my door. ‘Paris of the mind is preferable to the real thing,’ as Moyra Davey once wrote. But once I’d left the bubble of pleasure the show created, I was left with a hangover of ambivalence.

The writing is objectively terrible; it feels like it was written by a scattershot team consisting of The One With the Jokes, The Hack, and The One Who Went to Paris Once. The Hack is responsible for all the flat-footed dialogue (“you’re not stepping on my toes, you’re stepping into my shoes!”), coming up with lines like Carrie Bradshaw at her punniest (“I’m petit mort-ified!”). The Funny One is, occasionally, very funny (see the vagin jeune storyline). And The One Who Went to Paris Once must be responsible for the white-washing of the city, the xenophobia towards the French, the unflinching commitment to being as ringarde as possible, and no that does not mean basic.

Courtesy Netflix

But what rankled about the show, I realized, isn’t all it gets wrong about France and the French – this is fantasy, not Italian neorealismo. It’s the show’s limited and, yes, misogynist conception of who Emily is, and who it allows her to be.

There is an element of Everywomanness to her. She is hard-working, plucky, and resourceful when faced with challenges and trials, and doesn’t have any inconvenient special talents like, I don’t know, speaking French to get in the way of the target audience identifying with her. Like Christian in The Pilgrim’s Progress, she’s your average questing hero(ine). But where John Bunyan’s seventeenth-century religious allegory wonders if salvation exists, and if so, how can we attain it, in the world of Emily in Paris, redemption comes in the form of Instagram followers and bank. “Beyoncé’s worth far more than the Mona Lisa,” quips her best friend, approvingly. Paris is the City of Destruction and the Celestial City all at once.

“有个人把一杯咖啡摔在地上后就扬长而去。”
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'It's all bullshit. It's a lie. It's a Band-Aid lie to make them feel better. I know these people, I know they're lily-livered, and as long as it looks good on the surface, to them, that's enough.'
单词pilot 联想记忆:
简言之,2014年种种相反的趋势无法描述和解释。我也不信,多年之后,人们凭借后见之明,能将今年发生的种种事情看得更清楚。
The Incredible Jessica James
美国选举人团制度已经在两方面失效。
梅根·马克尔
And this year, the Nobel Prize has defied the convention of celebrating big by presenting the biggest prizes to discoveries on the smallest scales.
将学习放在最重要的位置
Index: 96.6
China has attained key targets outlined by the 12th Five-Year Plan by the end of 2015 to become a genuine giant trader, Gao said at a national meeting on commerce work.

Yet like a good comic hero, Emily is also somehow worse than us: witness the many people online complaining that she is, in fact, not relatable; she is ‘arrogant,’ ‘annoying,’ ‘entitled.’ She is these things, it’s true, but all these people on the internet, schooling Emily in how not to be a terrible obnoxious unlikable person reminds me of what the literary scholar Patricia Meyer Spacks wrote about gossip: that it’s society’s way of regulating itself and determining what is acceptable. So is, apparently, amateur TV criticism.

Courtesy Netflix

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排名:第五
Hopefully the experts come up with a better plan than one that fell flat earlier this year. The country's tourism body unveiled a 'Beautiful China' logo in February to market the country overseas, but the campaign was mocked for its contrast with the many photos of China's not-so-beautiful cities shrouded in pollution.
Total net profit for China’s commercial banks grew by 2.4 per cent last year, according to data from China’s bank regulator. Smaller banks saw increases in profit growth, while bigger banks slowed down.
如果一部情景喜剧播出10年堪称流行,那么播出20年后依旧令无数人挂怀的电视剧则是经典。《老友记》1994年在美国首播,讲述了六个生活在纽约的青年男女的故事。现在,该剧已经是最著名的情景喜剧之一,在全球超过100多个国家和地区播出。
Tom Hanks and Meryl Streep in front of the camera, with Steven Spielberg directing a historic battle over press freedom - there's much for awards voters to admire.
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In their blatant careening towards the monaaaaaaay that such a show might be expected to generate, Emily in Paris’s producers have demonstrated that they don’t give a fine fuck about writing, characterisation, interior life. (Don’t get me wrong: this isn’t some Forsterian diatribe about round or flat characters. That’s the domain of amateur TV critics.) What they do seem to care about is building the perfect woman, and then tearing her down.

As I watched the show, I kept thinking of Hilary Mantel’s 2013 lecture for the London Review of Books about Kate Middleton and the ‘royal body’. The Duchess of Cambridge, Mantel said, ‘appeared to have been designed by a committee and built by craftsmen, with a perfect plastic smile and the spindles of her limbs hand-turned and gloss-varnished.’ With her perfect abs and immobile mermaid waves, Emily, more so even than Middleton, who is, let’s not forget, a real person, actually has been designed by committee, not to continue the royal line but to sustain the franchise.

On the radio they asked me if I identified with Emily at all and I said uhhhh for what felt like forever in radio time, before saying no, no, not at all. Because when I moved here I wasn’t anything like Emily; not only had I learned French at school, I had a few more notions of Normandy beyond Saving Private Ryan (1998). When I moved here, there were no smart phones, no Instagram, and the American in Paris narrative was about coming here and doing something creative – writing, painting, dancing, whatever – not making sales pitches like Don Draper in stilettos. But I can’t deny our commonalities.

Courtesy Netflix

I have a lot of sympathy for the American girl abroad. I’ve been her, I’ve taught her, I occasionally hear from her, reaching out for help finding her feet. But on Emily in Paris, she’s another version of the jeune fille, the young girl, whom everyone feels authorised to hate. Think of every teenage girl on television, with few exceptions – they’re all whiny and intransigent and bothered, and we never really know why. The radical French philosophy collective Tiqqun published a polemic in 1999 called Preliminary Materials for a Theory of the Young Girl, which reads her as the ultimate consumer: when she thinks she’s expressing herself she’s only expressing commodity culture; she has no depth, no intimate reserves, she is all Spectacle.

The young girl is not a gendered concept, but ‘the model citizen as redefined by consumer society since the First World War, in explicit response to the revolutionary menace.’ Although the terms in which Tiqqun make their argument are deeply sexist, their essential point holds: we are all young girls under the capitalist patriarchy. But the young girl herself, the actual gendered young female human animal, is always rife for exploitation, not least by Tiqqun. 

In her recent book Females (2019), Andrea Long Chu echoes this argument (though in markedly un-misogynist terms), choosing to put it this way:

2013 Rank: 14
无论黑莓和三星联姻这种事是否发生,时代的发展已经凸显了移动技术下一波创新(和诉讼)浪潮的所在:在日益移动化的世界中掌握权限控制方法,阻止企业遭到黑客袭击。(财富中文网)
immunity

The jeune fille is all of us, but when she becomes the star of the show she’s none of us – just a skinny body on which to project our fucked-up ideas about beauty and female behaviour. Emily in Paris is a missed opportunity to say something real, for instance, about being a foreigner – an experience it would behove Americans to experience from time to time. (To wit: that early scene where Emily’s normcore boyfriend holds up his brand-new passport saying ‘Look what I got!’)  It is difficult to move to a foreign country, especially to a city as notoriously closed-off as Paris, and really, genuinely lonely, in a way the show doesn’t make room for. It is soul-crushing to find yourself rejected for the very compliance that, back home, you believed made you valued and loved.

I’m angry that when the producers decided to tell the story of a young woman, they declined to give her a more textured existence. That they ask her to speak not French, but a dead, prefabricated English: fake it ’til you make it. At one point someone accuses her of being arrogant. ‘More ignorant than arrogant,’ she says, sadly. Why does she have to be ignorant? I groaned at my computer. Because that’s what the producers think of young women: all mermaid curls, no brains.

Courtesy Netflix

如果现在的闪电侠韦德减掉30磅肌肉,那你可能就分不清NBA版和高中版的韦德了。
我打赌短期内这些力量——以及美国的首席执行官们——将继续缓和总统在贸易上的火气。不过眼下华盛顿有很多人叫嚣着要在贸易上惩罚中国。
In addition, the top-ranking cities typically performed poorly in costs and culture and lifestyle. China's "cities of opportunity" continue to face challenges when it comes to building cities that satisfy the needs of the populace and provide a high quality of life.

亚太地区是地区国家共有的家园,我们不希望、也不愿意看到冷战思维下所谓“选边站队”的事情发生。
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

201103/129769.shtmlEveryone tells a white lie on occasion, it’s just a question of why. Some white lies save relationships, some ease a hectic situation, and others buy us time. We all do it, so there is no reason to deny it. As long as we aren’t hurting others or breaking the law, these innocent lies can make life more pleasant. Most of these white lies only stretch aninterpretation of what the truth actually is anyways. Here’s a list of the 10most common white lies and why we tell them.
The companies that have tried — and so far failed — to create a sustained ETF boom in Asia say the need for wholesale reform suggests the market will be defined by a protracted effort to convince both the regulators and customers to redraw the scenery.
The first drone can be traced back to 1916 when British inventor Archibald Low designed and flew the first unmanned radio-controlled vehicle. The drone was made to counterattack German Zeppelin airships, and it also carried out ground attacks during World War I. It was made with wood and tin, its wings taken from the lower wing of another biplane. Overall, the drone was somewhat unsuccessful because the noise from its engine interfered with its radio. The Sopwith Aircraft Company also tried making a drone in 1916. They placed the radio equipment at the tail so that the engine would not interfere with its signal, but their drone never flew as it was damaged in an accident on the ground. Low would try flying his drone again in 1917 when he flew it in front of some senior military officers. It was launched from the back of a lorry and flew for some time before crashing due to engine failure, almost killing the military officers present.

2017年排行榜分别评选了60个“无工作经验要求”的项目和6个“有工作经验要求”的项目。“无工作经验要求”的项目主要面向拥有很少或没有金融业背景的学生,“有工作经验要求”的项目针对的是已经在金融领域工作的专业人士。只有少数几家学院提供“有工作经验要求”的课程。
Overall, starting a company ranked lowest among reasons cited for undertaking an EMBA (rated 5.5 out 10). Students’ main motivations were learning about management (9.1), networking (8.3) and increasing earnings (8.1).
布莱恩·肯德罗拉是纽约Stack's Bowers Galleries 拍卖行的行长,他透露这次拍卖吸引了来自6个国家的6名竞拍者。在星期四举行的拍卖会上,中标者是一名匿名的亚洲收藏家。
'Don't ever do this again,' she said to herself. 'It's so scary.'
设在日内瓦的国际移民组织星期二公布的数字显示,一百万零五千五百零四名非洲和中东的流动人口,以非常规方式通过陆路和海路进入欧洲大陆,这个数字是2014年的四倍。
Tomorrow Never Dies gets the other honorable mention on our James Bond theme song list.

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